
LIFE SUPPORT
Every day I take up my tools
and each day I resist writing
elegy; there are, the news service says,
whale sharks and manatees
washing up dead on the shores of Florida,
where I spent the best years of my youth. Ninety per cent
of the emperor penguins are gone, and slow lorises
have been decimated, too. A fire storm so huge
it opened up a vacuum in its centre has flattened
Redding, California. Athens has burned, and this time
not from war. Forty thousand fruit bats perished
on their roosts when the temperature rose to forty-five degrees
centigrade. The world is not itself. I struggle
to describe the world as it was when I grew up in it,
the lizards and beetles, ants and ant lions that scurried
away each time a leaf was turned, the sound
of frogs and cicadas so dense the air
had a feeling like warm milk, the birds everywhere,
their eyes and swift movements
a rich text among the wires and shrubs
and skies. And fish, and crabs; the shallows bright
with them. All of this gone silent, or thinned
to a few broken words, a rough note, an acronym.
But ten per cent, I tell myself, are left, and the
red woods and saguaro have not died, yet;
I will not stand
over the world speaking last rites.
I will take the world we wounded
in my arms. I will bring hands and breath
to it and every medicine. I will call
the doctors in, tell them,
as if we need telling,
save her, save him,
save them.
The harm human activities, especially development and mining, cause places, water, air, animals and plants is hard to write about. The fear and sadness can be overwhelming, and turn to dread, making action feel impossible. Sometimes the grief I feel reading or hearing the news tempts me to lose hope. 'Life Support' is my reminder to myself to keep fighting.
Like 'Three Poems about Sacrifice', 'Life Support' is a crude poem, but unlike 'Three Poems' it is elegy refused. In it I draw on the experience of caring for my mother as she battled grave illness. 'Life Support' rejects the consolations of decorative language in favour of raw description, rough enjambment, a commitment to life and a simple call to action.
First performed at Bimblebox 153 Brisbane launch, 2019. Reading recorded and shared in Marete Megarrity's The Grand Negotiations 2020 (installation).
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